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(b Minas de Ríotinto, Huelva, Jan 12, 1871; d Vera de Bidasoa, Navarra, 1953).

Spanish printmaker, painter and writer . He was self-taught. He belonged to the Generación del 98 and the modernist literary movement. He began engraving in 1901 and won second prize at the Exposición Nacional, Madrid (1906), going on to win first prize in 1908. He also began etching c. 1908, and it became his favourite technique, although he also made lithographs. Both his prints and paintings have a literary content and focus thematically on life’s human aspects in a way reminiscent of the work of Toulouse-Lautrec. He illustrated Rubén Darío’s Coloquio de los centauros. Despite their lack of fine detail, his prints are realistic, for example Bar Types (etching and aquatint, c. 1906–9; Madrid, Bib. N.) and Beggars (etching and aquatint, c. 1910; Madrid, Bib. N.). His impressionistic painting style of the 1920s became more roughly worked later, possibly due to the loss of an eye in 1931. In ...

French, 19th – 20th century, female.

Active in Switzerland.

Born 1872, in Arras; died 1952.

Painter, watercolourist, illustrator, writer. Portraits, genre scenes. Posters, decorative designs.

Art Nouveau.

Marguerite Burnat-Provins was a pupil of Benjamin Constant and Jean-Paul Laurens. She married in 1896 and settled in Vevey, Switzerland. Very responsive to poetry, she wrote poems and plays from her early days, and when she was living in Vevey she wrote a long poem, ...

(Genrikhovna) [Notenberg, Eleanora]

(b St Petersburg, Jan 10, 1877; d Uusikirkko, Finland [now in Russia], May 6, 1913).

Russian painter and poet. She has an important place in the development of Russian modernism, as one of its founders and inspirations, and as an artist of independent and original vision. She studied at the drawing school of the Society for the Encouragement of the Arts, St Petersburg (1890–93), in Yan Tsionglinsky’s private studio (1903–5) and at the Zvantseva School (1906–7) under Mstislav Dobuzhinsky and Léon Bakst. She was attracted to Symbolist literature and her visual art was characterized by a psychological impressionism that first appeared in the work she showed in exhibitions organized by Nikolay Kul’bin in 1908–10. Guro concentrated on elements of the Finnish landscape near her dacha, be that a leaf or the seashore, on her cats, her husband (the painter and musician Mikhail Matyushin) or on items such as a drainpipe or the cobbles of a street. Using watercolour and ink, she moved away from visual mimesis towards a Japanese-style response to nature and an empathy with her surroundings, as in ...

(b Amersfoort, March 7, 1872; d New York, Feb 1, 1944).

Dutch painter, theorist, and draughtsman. His work marks the transition at the start of the 20th century from the Hague school and Symbolism to Neo-Impressionism and Cubism. His key position within the international avant-garde is determined by works produced after 1920. He set out his theory in the periodical of De Stijl, in a series of articles that were summarized in a separate booklet published in Paris in 1920 under the title Le Néo-plasticisme (see Neo-plasticism) by Léonce Rosenberg. The essence of Mondrian’s ideas is that painting, composed of the most fundamental aspects of line and colour, must set an example to the other arts for achieving a society in which art as such has no place but belongs instead to the total realization of ‘beauty’. The representation of the universal, dynamic pulse of life, also expressed in modern jazz and the metropolis, was Mondrian’s point of departure. Even in his lifetime he was regarded as the founder of the most ...

(b Antwerp, April 3, 1863; d Zurich, Oct 25, 1957).

Belgian designer, architect, painter, and writer. He was one of the leading figures in the creation of Art Nouveau in the 1890s.

From 1880 to 1883 Van de Velde studied at the Academie voor Schone Kunsten in Antwerp, exhibiting for the first time in 1882. In 1883 he was a founder-member of the art group Als Ik Kan, which fostered the position of the artist outside of the Salon. His earliest paintings, such as the Guitar-player (1883; Brussels, priv. col., see Canning, p. 100), are in a Realist vein with sombre tones. In October 1884 Van de Velde travelled to Paris. Although he entered the studio of the academic painter Carolus-Duran, where he remained until the spring of 1885, he was strongly attracted to the works of Jean-François Millet (ii). His works after his stay in Paris, such as Still-life with Fruit Dish (1886; Otterlo, Kröller-Müller), display the characteristic broken brushstroke of the Impressionists, although this style is often combined with subjects drawn from Millet, seen in the ...